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Index – Culture – Beautiful, but why? The City of Love in Comedy Theatre

The creative couple, Attila Vedniansky Jr. and Vicki. Miklós H. has already said in the play’s announcer: Theatrical work is not really about anything. He has nothing to say. The city of love in comedy theater is also watching this.

However, he paints this nothing profligately, just a matter of whether it makes sense. Throughout the first trimester, I feel how long it will last until no action occurs, but until no action is set, until nothing but coming and going, and getting stuck in a flowery environment, I will lose my patience when it does. It comes to good music, a lavishly orchestrated song, a good gag, or a stunning effect.

The young creative team of the Comedy Theater, which we were lucky enough to get acquainted with The Great Gatsby, wants to affect the eyes and ears, not the soul. But it is also the stated goal, to forget, to remove the hustle and bustle of our long suffering, the period of the pandemic, and to leave it behind.

But this alone is unfortunately not enough, and in this case depth, spiritual repertoire, mere forgetfulness and vertigo in the dance are unfortunately needed – all so lavishly displayed.

The original material for the performance was the iconic 1945 Les enfants du paradis by Marcel Carnet and Jacques Privier, one of the greatest films in French cinema, translated into Hungarian as City of Loves, and one of France’s biggest budget films Truffaut said he would. He gives his full works if he can subscribe. The action, which features international stars, works with no less than Jean Carmet, Maria Casares, Arlette, Pierre Brassor or Jean-Louis Parault in the main role. Incidentally, the film had two Hungarian contributors, one of whom was the composer Joseph Kuzma, or Joseph Kuzma, and the most famous chanson of his Hollow papers, and the other to the Academy Award-winning designer Sandor Trauner, to whom we owe, among other things, the years of Paris in the surviving images.

This is really in your favor. And then, in fact, that’s all there is to it.

Because the mood is there, the Paris of the forties, the characters are there too, here and there, in traces, even the story, though it’s hard to start, and when you finally start, it really ends, but then there is still action. However, the eye-to-ear grab doesn’t last from three quarters to eleven, even if the scenery is lavish and the music (live music) is particularly good. (József Wunderlich also presses a very authentic guitar solo.) The jokes are often forced and tiring (I said on Thursday, they’re fatal by the time the wooden bowl is thrown), there are plenty of references, for example, to the empty space of twice Peter Brook , once like Peter Broome, or theater in a parallel theater to Shakespeare (Go, get ready!) But these remain self-serving, inorganic, self-evident, professed, look, how educated we are, do you notice?

The arrangement is full of everything, all sensual pleasures, what is a face-to-mouth stimulation, there is nothing wrong with that.

The problem is that there are no pieces. There is a performance, there is an arrangement, but the piece must be looked for with a magnifying glass, although it is not an actual or improvisational performance, here every flashing neon light, engine running, smoke, live camera, singing scene, silent game, juggling ball thrown in the air Calculated as if the performance would be the play itself, mood, world, paris of the age, her sins and condolences, so Vidnyansky is not disturbed by the lack of play, it is replaced by action, theatrical language, and magic. It’s just like that when the actor talks kindly but doesn’t say anything. But Latinovets does not usually read a bad poem.

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The actors fit perfectly into this theatrical language, and theatrical director Giza D. Enraged by Count Edward, Joseph Wonderlich shows a new face in the role of ambitious Lemetrö, as the Great Gatsby did with the brilliantly sad and spleenly indecisive Daisy,

Andrea Waskowitz, as the daughter of a theater director, who, as the wife of the Baptist, makes her so naive that she hides the power of a wild lion, and sometimes explodes at the right moment.

This kind of expression of love on stage is completely new, and that is its merit. Csilla Radnay would be Garance, that is, in the rewritten version, Garánsz, the woman loved by all men of all colours, Baptiste, Pierre-François, Le Maître and Count Eduard, but to do so requires an actress of that weight we think. She also sings well, sometimes with opera quality. And when everyone wraps their fingers in the play, the gullible Waskowitz, shoved into the background on stage, is the outright victor in the female characters’ competition.

Music (Adrián Kovács) restores sin, the realm of theater and happiness, and we cannot have a word about the musical material of the work, nor about the way it is performed. (Captain Commander David David.)

Are the names of the characters in the Hungarian version trying to make fun of them? (who knows) to translate French names into Hungarian and Hungarian into Hungarian. In French, however, it is not necessary to pronounce them like this, Baptiste, for example, “Bátiszt” without the “p” and Le maître is not Lö metro, only Lö metr, Garance is not Garánsz, but Garánsz, François is not François but François . This obviously wouldn’t spoil the theatrical experience, but if phonemic transcription is what is meant, it’s unfortunately wrong to suggest that it worked, a little different, then OK, but I’m afraid the former is the case. Knowledge of French in theater circles is also not a requirement, but an expert can be called upon to make a French piece.

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Surely, for the city of love in the comedy theater, no one will give up his entire work, and will not go down in the history of the theater. We haven’t forgotten about the pandemic either. But at least we had a good concert full of visuals.

(Cover Photo: Zoltán Gyöngyösi as the Baptist at rehearsal for Jack Prevert’s musical drama The City of Loves at the Comedy Theater on September 2, 2021. Photo: Zsolt Szigetváry/MTI)